be received as very dubious, since we know not the exact date of this or the other plays, and cannot tell how our author might have changed his practice or opinions. The historical dramas are now concluded, of which the two parts of Henry the Fourth, and Henry the Fifth, are among the happiest of our author's compositions; and King John, Richard the Third, and Henry the Eighth, deservedly stand in the second class. Those whose curiosity would refer the historical scenes to their original, may consult Holinshed, and sometimes Hall: from Holinshed Shakspeare has often inserted whole speeches, with no more alteration than was necessary to the numbers of his verse. To transcribe them into the margin was unnecessary, because the original is easily examined, and they are seldom less perspicuous in the poet than in the historian. To play histories, or to exhibit a succession of events by action or dialogue, was a common entertainment among our rude ancestors upon great festivities. The parish clerks once petformed at Clerkenwell a play which lasted three days, containing The History of the World. JOHNSON. THE story was originally written by Lollius, | by Pynson, in 1513. In the books of the Staan old Lombard author, and since by Chaucer. POPE. Mr. Pope (after Dryden) informs us, that the story of Troilus and Cressida was originally the work of one Lollius, a Lombard (of whom Gascoigne speaks in Dan Bartholmowe his irst Triumph: "Since Lollius and Chaucer beth, make doubt upon that glose"), but Dryden | goes yet further. He declares it to have been written in Latin verse, and that Chaucer translated it. Lollius was a historiographer of Urbino in Italy. Shakspeare received the greatest part of his materials for the structure of this play from the Troye Boke of Lydgate. Lydgate was not much more than a translator of Guido of Columpna who was of Messina in Sicily, and wrote his History of Troy in Latin, after Dictys Cretensis, and Dares Phrygius, in 1287. On these, as Mr. Warton observes, he engrafted many new romantic inventions, which he taste of his age dictated, and which the connection between Grecian and Gothic fiction easily admitted; at the same time comprehending in his lan the Theban and Argonautic stories from vid, Statius, and Valerius Flaccus. Guido's work was published at Cologne in 1477, again 1:50: at Strasburgh, 1486, and ibidem, 1489. It appears to have been translated by Raoul le Feure, at Cologne, into French, from whom Caxton rendered it into English in 1471, under the title of his Recuyel, &c.; so that there must have been yet some earlier edition of Guido's performance than I have hitherto seen or heard unless his first translator had recourse to a Kannscript. Guido of Columpna is referred to as an authority by our own chronicler Grafton. Chauort had made the loves of Troilus and Cressida Famous, which very probably might have been Shakspeare's inducement to try their fortune on the stage.-Lydgate's Troye Boke was printed tioners' Company, anno 1581, is entered " A proper ballad, dialogue-wise, between Troilus and Cressida." Again, Feb. 7, 1602: "The booke of Troilus and Cressida, as it is acted by my Lo. Chamberlain's men." The first of these entries is in the name of Edward White, the second in that of M. Roberts. Again, Jan. 28, 1608, entered by Richard Bonian and Hen. Whalley, "A booke called the history of Troilus and Cressida." STEEvens. The entry in 1608-9 was made by the booksellers for whom this play was published in 1609. It was written, I conceive, in 1602. MALONF. Before this play of Troilus and Cressida, printed in 1609, is a bookseller's preface, showing that first impression to have been before the play had been acted, and that it was published without Shakspeare's knowledge, from a copy that had fallen into the bookseller's hands. Mr. Dryden thinks this one of the first of our author's plays but, on the contrary, it may be judged, from the fore-mentioned preface, that it was one of his last; and the great number of observations, both moral and politic, with which this piece is crowded more than any other of his, seems to confirm my opinion. POPE. We may learn, from this preface, that the original proprietors of Shakspeare's plays thought it their interest to keep them unprinted. The author of it adds, at the conclusion, these words: "Thank fortune for the 'scape it hath made among you, since, by the grand posses sors' wills, I believe you should rather have prayed for them, than have been prayed," &c. By the grand possessors, I suppose, were meant Heming and Condell. It appears that the rival playhouses at that time made frequent depredations on one another's copies. In the Induction to The Malcontent, written by Webster, and augmented by Marston, 1606, is the following passage:-"I wonder you would play it, another company having interest in it. Why not Malerole in folio with us, as Jeronimo in decimo s-xto with them? They taught us a name for our play; we call it One for another." Again, T. Heywood, in his preface to The English Traveller, 1633: "Others of them are still retained in the hands of some actors, who think it against their peculiar profit to have them come in print." STEEVENS. Notwithstanding what has been said by a late editor Mr. Capell), I have a copy of the first folio, including Troilus and Cressida. Indeed, it was at first either unknown or forgotten. It does not, however, appear in the list of the plays, and is thrust in between the histories and the tragedies, without any enumeration of the pages, except, I think, on one leaf only. It differs entirely from the copy in the second folio. FARMER. I have consulted at least twenty copies of the first folio, and Troilus and Cressida is not wanting in any of them. STEEVENS. PREFACE TO THE QUARTO EDITION OF THIS PLAY, 1609. Newes. A never Writer to an ever Reader. Eternal reader, you have heere a new play never stal'd with the stage, never clapper-claw'd with the palmes of the vulger, and yet passing full of the palme comicall; for it is a birth of your (r. that, braine, that never under-tooke any thing commicall, vainely and were but the vaine names of commedies changed for the titles of commodities, or of playes for pleas; you should see all those grand censors, that now stile them such vanities, flock to them for the maine grace of their gravities: especially this authors commedies that are so fram'd to the life, that they serve for the most commnon commentaries of all the actions of our lives, shewing such a dexteritie and power of witte, that the most displeased with playes, are pleasd with his commedies. And all such dull and heavy-witted worldlings, as were never capable of the witte of a commedie, comming by report of them to his representations, have found that witte there, that they never found in themselves, and have parted better-wittied than they came feeling an edge of witte set upon them more than ever they dreamd they had braine to grind it on. So much and such savored salt of witte is in his commedies, that they seeme (for their height of pleasure) to be borne in that sea that brought forth Venus. Amongst all there is none more witty than this: and had I time I would comment upon it, though I know it needs not (for so much as will make you thinke your testerae well bestowd), but for so much worth, as even poore I know to be stuft in it. It deserves such a labour, as well as the best commedy in Terence or Plautus. And beleeve this, that when hee is gone, and his commedies out of sale, you will scramble for them, and set up a new English inquisition. Take this for a warning, and at the perill of your pleasures losse, and judg ments, refuse not, nor like this the lesse, for not being sullied with the smoaky breath of the multitude; but thanke fortune for the 'scape it hath made amongst you since by the grand posses sors' wills I believe you should have pray'd for them, (r. if) rather than beene prayd. And so I leave all such to bee prayd for (for the states of their wits healths) that will not praise it. Vale. TROILUS AND CRESSIDA. This play is more correctly written than most of Shakspeare's compositions, but it is not one of those in which either the extent of his views or elevation of his fancy is fully displayed. As the story abounded with materials, be has exerted little invention; but he has diversified his characters with great variety, and preserved them with at exactness. His vicious characters disgust, but cannot corrupt, for both Cressida and Pandarus are detested and contemned. The comic characters seem to have been the favourites of the writer: they are of the superficial kad. and exhibit more of manners than nature; but they are copiously filled, and powerfully impressed. Shak are has in his story followed, for the greater part, the old book of Caxton, which was then very popular; but the character of Thersites, of which it makes no mention, is proof that this play was written after Chapman had published his version of Homer. Johnson. THERSITES, a deformed and scurrilous Grecian. ALEXANDER, Servant to Cressida. Servant to Troilus. Servant to Paris. Servant to Diomedes, HELEN, Wife to Menelaus. CASSANDRA, Daughter to Priam, a Prophetess. Trojan and Greek Soldiers, and Attendants. SCENE,-Troy, and the Grecian Camp before it. PROLOGUE. la Troy, there lies the scene. Greece From isles of The princes orgulous, their high blood chaf'd, With wanton Paris sleeps; and that's the quarrel. And the deep-drawing barks do there disgorge Now expectation, tickling skittish spirits, lake, or find fault; do as your pleasures are; SCENE L-Troy. Before Priam's Palace. Tro. The Greeks are strong, and skilful to their strength. Perce to their skill, and to their fierceness valiant; Sat I am weaker than a woman's tear, iwer than sleep, fonder than ignorance; Less valiant than the virgin in the night, Pan. Well, I have told you enough of this: for my part, I'll not meddle nor make no further. He, that will have a cake out of the wheat, must tarry the grinding. Tro. Have I not tarried? Pan. Ay, the grinding; but you must tarry the bolting. Tro. Have I not tarried? Pan. Ay, to the leavening: but here's yet in the word-hereafter, the kneading, the making of the cake, the heating of the oven, and the baking; nay, you must stay the cooling too, or you may chance to burn your lips. Tro. Patience herself, what goddess e'er she be, Doth lesser blench at sufferance than I do. At Priam's royal table do I sit : And when fair Cressid comes into my thoughts,So, traitor! when she comes!--when is she thence? Pan. Well, she looked yesternight fairer than ever I saw her look, or any woman else. Tro. I was about to tell thee,-When my heart, As wedged with a sigh, would rive in twain; Lest Hector or my father should perceive me, I have (as when the sun doth light a storm,) Bury'd this sigh in wrinkle of a smile: But sorrow, that is couch'd in seeming gladness, Is like that mirth, fate turns to sudden sadness. Pan. An her hair were not somewhat darker than Helen's, (well, go to,) there were no more comparison between the women,-But, for my part, she is my kinswoman; I would not, as they term it, praise her,-But I would somebody had heard her talk yesterday, as I did. I will not dispraise your sister Cassandra's wit;-but Tro. O, Pandarus! I tell thee, Pandarus,- Her eyes, her hair, her cheeks, her gait, her voice; The cygnet's down is harsh, and spirit of sense me, As true thou tell'st me, when I say-I love her; Pan. I speak no more than truth. Pan. 'Faith, I'll not meddle in't. Let her be as she is: if she be fair, 'tis the better for her; an she be not, she has the mends in her own hands. Tro. Good Pandarus! How now, Pandarus? Pan. I have had my labour for my travel; illthought on of her, and ill-thought on of you: gone between and between, but small thanks for my labour. Tro. What, art thou angry, Pandarus? what, with me? Pan. Because she is kin to me, therefore she's not so fair as Helen: an she were not kin to me, she would be as fair on Friday, as Helen is on Sunday. But what care I? I care not, an she were a black-a-moor; 'tis all one to me. Tro. Say I, she is not fair? Pan. I do not care whether you do or no. She's a fool to stay behind her father; let her to the Greeks and so I'll tell her the next time I see her: for my part, I'll meddle nor make no more in the matter. Fools on both sides! Helen must needs be fair, It is too starv'd a subject for my sword. Ene. How now, prince Troilus? wherefore not afield? [sorts, Tro. Because not there; This woman's auswer For womanish it is to be from thence. What news, Eneas, from the field to-day? Ane. That Paris is return'd home, and hurt. Ene. may day! Tro. Better at home, if would I might, were But, to the sport abroad;-Are you bound thither? Ene. In all swift haste. Tro. Come, go we then together. [Exeunt. SCENE II-The same. A Street. Enter CRESSIDA and ALEXANDER. Cres. Who were those went by? Alex. Queen Hecuba, and Helen. Cres. And whither go they? Alex. Up to the eastern tower, Whose height commands as subject all the vale, To see the battle. Hector, whose patience A lord of Trojan blood, nephew to Hector: Cres. Cres. So do all men; unless they are drunk, sick, or have no legs. Alex. This man, lady, hath robbed many beasts of their particular additions; he is as valiant as the lion, churlish as the bear, slow as the elephant; a man, into whom nature hath so crowded humours, that his valour is crushed into folly, his folly sauced with discretion: there is no man hath a virtue, that he hath not a glimpse of; nor any man an attaint. but he carries some stain of it: He is melancholy without cause, and merry against the hair: He hath the joints of every thing; but every thing so out of joint, that he is a gouty Briareus, many hands and no use; or purblind Argus, all eyes and no sight. Cres. But how should this man, that makes me smile, make Hector angry? Alex. They say, he yesterday coped Hector in the battle, and struck him down; the disdain and shame whereof hath ever since kept Hector tasting and waking. Enter PANDARUS. Cres. Who comes here? Alex. Madam, your uncle Pandarus. Alex. As may be in the world, lady Cres. Good morrow, uncle Pandarus. Pan. Good morrow, cousin Cressid: What de you talk of?-Good morrow, Alexander.-How do yon, cousin? When were you at Ilium? Cres. This morning, uncle. Pan. What were you talking of, when I came? Was Hector armed, and gone, ere ye came to Ilion* Helen was not up, was she? Cres. Hector was gone: but Helen was not ap. Cres. So he says here. Pan. True, he was so; I know the cause too; he'll lay about him to-day, I can tell them that and there is Troilus will not come far behind him; let them take heed of Troilus; I can tell them that Cres. What, is he angry too? ¡ton Pan. Who, Troilus? Troilus is the better man of the two. Cres. O, Jupiter! there's no comparison. Pan. What, not between Troilus and Hector Do you know a man, if you see him? Cres. Ay; if ever I saw him before, and knew him. Pan. Well, I say, Troilus is Troilus. Cres. Then you say as I say; for, I am sure, he is not Hector. Pan. No, nor Hector is not Troilus, in sonce degrees. Cres. Tis just to each of them, he is himself. Pan. Himself? Alas, poor Troilus! I would, be |